| Summary: | This article explores the aesthetic dimensions of telematic music performance, focussing on composers' and performers' experiences in an intercontinental collaboration. Telematic performances, which allow musicians to collaborate across geographical distances using digital platforms, present both opportunities and challenges due to network-induced latency. Drawing on the 'latency-accepting approach' proposed by Carôt and Werner ([2007]. "Network Music Performance-Problems, Approaches and Perspectives." Proceedings of the "Music in the Global Village"-Conference, Budapest, Hungary 162: 23-10, p. 7), this research explores how latency, traditionally a technical limitation, can be embraced as an artistic parameter. During the 2020-COVID-19 pandemic lockdowns, composers Anders Lind and Cat Hope created telematic works for ensembles on three continents: Decibel (Australia), Norrbotten Neo (Sweden) and Ensemble Mise-En (USA). The research employs a media ecology perspective, drawing on McLuhan's concepts of 'extension' and 'amputation' (1964), to analyse how the telematic environment reshapes traditional musical practices. While composers perceive the telematic environment as an extension, where new forms of temporal and spatial exploration emerge, performers emphasise amputations, particularly the lack of real-time audience feedback and physical interaction. The study highlights the importance of synchronised notation and visual cues in maintaining ensemble cohesion and facilitating creative expression in telematic contexts. Ultimately, this research contributes to understanding the artistic potential and limitations of telematic performance, offering insights for future exploration of digital collaboration tools.
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